It’s been two decades since Mary Poppins first floated onto the West End stage, promising to bridge the whimsy of Disney’s 1964 film with the sharper edges of PL Travers’ beloved novels. Since then, it has toured globally, dazzled thousands and established itself as a cornerstone of family-friendly musical theatre. But with the current revival, it’s hard to ignore that the magic feels increasingly mechanical. Still spectacular in scale and performed with polish, this production delights in moments – but shows clear signs of needing a creative overhaul.
The story remains broadly familiar. At 17 Cherry Tree Lane, George and Winifred Banks are at their wits’ end with their unruly children, Jane and Michael. Into their chaotic home floats Mary Poppins, a seemingly prim and proper nanny with a magical edge, who brings not just discipline but transformation. Through surreal park adventures, unsettling toys, and the occasional walk on the ceiling, Mary helps each member of the household rediscover the value of kindness, connection, and imagination.
Julian Fellows’ script attempts to blend the sentimental ease of the film with the oddity and occasional menace of Travers’ original stories. Mr Banks’ emotional coldness is given a new psychological framing, rooted in childhood trauma inflicted by the tyrannical Miss Andrews. Meanwhile, Winifred Banks is no longer the spirited suffragette of the Disney film but a former actress struggling to find her place in the domestic sphere – a shift that strips her of outspoken agency and returns her closer to her original literary form, albeit with a theatrical slant. These character choices are intriguing in theory, but on stage they rarely land with emotional weight. The tonal shifts between earnest family drama and surreal fantasy feel uneven, and the narrative as a whole sometimes struggles to maintain a clear emotional throughline.
Stefanie Jones, reprising her award-winning role from the acclaimed Australian production, is technically superb as Mary Poppins. Her vocal clarity, balletic movement and effortless poise all point to a performer in complete command of the role. Her portrayal may feel two-dimensional to some, but that seems less a shortcoming than a deliberate character choice – Mary is not here to grow or emote, but to restore order and disappear. She remains, as Travers intended, a magical enigma: not a nurturer, but a catalyst.
Jack Chambers, also returning from the Australian run, brings nimble charm and boundless physical energy to Bert. He shines in the show’s most acrobatic moments, particularly the airborne tap number ‘Step in Time’. Vocally, he feels slightly underpowered – perhaps the result of a long tour – but even on a less vocally dynamic night, his charisma and athleticism are undeniable.
Michael D. Xavier gives George Banks a stiff, formal edge that sometimes drifts into caricature, but his baritone lends gravitas to key musical moments.
Understudy’s assured performance as Mary Poppins
On this Birmingham opening night, the role of Winifred Banks was played by understudy Sarah-Marie Maxwell. It is perhaps the highest compliment to an understudy that they hold the role as if they do so every night, and Maxwell does exactly that. Her performance is assured, nuanced and emotionally present. She brings warmth and quiet determination to a character who can easily be overlooked, adding depth and vulnerability without ever pushing too hard.
Among the supporting cast, Wendy Ferguson gives a gloriously fearsome turn as Miss Andrews in ‘Brimstone and Treacle’, and Patti Boulaye’s Bird Woman, though vocally lush, feels miscast – too regal for a character meant to embody hardship. Rosemary Ashe and Ruairidh McDonald bring comic verve as Mrs Brill and Robertson Ay, though their antics risk tipping into pantomime.
Visually, the production still astonishes. Bob Crowley’s design – the folding house of Cherry Tree Lane, the monochrome menace of the bank, the technicolour dreamscape of ‘Jolly Holiday’ – remains a triumph of theatrical storytelling. The illusions (by Paul Kieve and Jim Steinmeyer) are slick, from bottomless carpet bags to collapsing kitchens, and the choreography from Matthew Bourne and Stephen Mear remains a highlight, most notably in the show’s two big numbers: ‘Step in Time’ and ‘Supercalifragilisticexpialidocious’.
This Poppins feels overstuffed and muted
But spectacle alone can’t mask a growing fatigue in the production’s bones. At nearly three hours, it feels overstuffed and occasionally indulgent. The additional songs by George Stiles and Anthony Drewe – introduced back in 2004 – are hit and miss: ‘Practically Perfect’ is charming, but others outstay their welcome or stall the pacing. The climactic emotional resolution, particularly Mr Banks’ redemption, lands with a thud rather than a swell. Some scenes – notably the magical Neleus statue – veer into the bizarre without adding much emotional or narrative weight, feeling more like literary nods than purposeful storytelling.
Most frustratingly, the show’s heart never quite beats as loudly as it should. Moments that should move – ‘Feed the Birds’, ‘Being Mrs Banks’, or the kite-flying finale – feel strangely muted, lacking the emotional charge to lift them off the stage. We’re dazzled, but not touched.
The audience, however, responded with clear affection. Children were rapt, the finale drew a standing ovation, and there’s no denying that Mary Poppins still holds cultural weight. But this production, though professionally executed and still visually impressive, now feels like it’s coasting. It needs new breath, sharper focus, and a willingness to take creative risks. Because while flying across the stage may still earn gasps, theatrical magic demands more than mechanics – it requires heart. And right now, Mary Poppins is soaring high but landing light.
Mary Poppins is playing the Birmingham Hippodrome, Birmingham until 23 August 2025 before continuing its national tour. Visit the website for cast and crew details.
